“Rumor has it, one of the two groups who can't quite agree on who owns our hotel.”
“Mafia?”
“Local equivalent, but only very approximately equivalent. Real estate was baroque, here, before the quake; now it's more like occult.”
Laney, glancing down as they passed one of the glowing loops, noticed, on the treads of the stairs, hardened trickles of something that resembled greenish amber. “There's stuff on the stairs,” he said.
“Urine,” Arleigh said.
“Urine?”
“Solidified, biologically neutral urine.”
Laney took the next few steps in silence. His calves were starting to ache. Urine?
“The plumbing didn't work, after the quake,” she said. “They couldn't use the toilets. People just started going, down the stairs. Pretty horrible, by all accounts, although some people actually get nostalgic about it.”
“It's solid?”
“There's a product here, a powder, looks like instant soup. Some kind of enzyme. They sell it mainly to mothers with young kids. The kid has to pee, you can't get them to a toilet in time, they pee in a paper cup, an empty juice box. You drop in the contents of a handy, purse-sized sachet of this stuff, zap, it's a solid. Neutral, odorless, completely hygienic. Pop it in the trash, it's landfill.”
They passed another loop of light and Laney saw miniature stalactites suspended from the edges of a step. “They used that stuff…”
“Lots of it. Constantly. Eventually they had to start sawing off the build-up…”
“They still…?”
“Of course not. But they kept the Grotto.”
Another flight. Another loop of ghostly undersea light.
“What did they do about the solids?” he asked.
“I'd rather not know.”
Winded, his ankles sore, Laney emerged from the Grotto. Into a black-walled and indeterminate space defined by blue light and the uprights of gilded girders. After chemically frozen frescoes of piss, the Western World disappointed. A gutted office block dressed with mismatched couches and nondescript bars. Something looming in the middle foreground. He blinked. A tank. American, he thought, and old.
“How did they get that up here?” he asked Arleigh, who was passing her black coat to someone. And why hadn't the floor collapsed?
“It's resin,” she said. “Membrane sculpture. Stereo lithography. Otaku thing: they bring them in in sections and glue them together.”
Blackwell had given up his drover's coat, exposing a garment that resembled a suit jacket but seemed to have been woven from slightly tarnished aluminum. Whatever this fabric was, there was enough of it there for a double bedspread. He moved forward, through the maze of couches and low tables, with that same effortless determination, Laney and Arleigh drawn along in his wake.
“That's a Sherman tank,” Laney said, remembering a CD-ROM from Gainesville, one about the history of armored vehicles. Arleigh didn't seem to have heard him. But then she'd probably never played with CD-ROMs, either. Time in a Federal Orphanage had a way of acquainting you with dead media platforms.
If Arleigh were right, and the Western World were being kept on as a kind of tourist attraction, Laney wondered what the crowd would have been like in the early days, when the sidewalks below were buried in six feet of broken glass.
These people on the couches, now, hunched over the low tables that supported their drinks, seemed unlike any crowd he'd seen so far in Tokyo. There was a definite edged-out quality there, and prolonged eye-contact might have been interesting in some cases, dangerous in others. Distinct impression that the room's combined mass of human nervous tissue would have been found to be freighted with the odd few colorants. Or else these people were somehow pre-selected for a certain combination of facial immobility and intensity of glance?
“Laney,” Blackwell said, dropping a hand on Laney's shoulder and twirling him into the gaze of a pair of long green eyes, “this is Rez. Rez, Colin Laney. He's working with Arleigh.”
“Welcome to the Western World,” smiling, and then the eyes slid past him to Arleigh. “Evenin’, Miz MacCrae.”
Laney noticed something then that he knew from his encounters with celebs at Slitscan: that binary flicker in his mind between image and reality, between the mediated face and the face there in front of you. He'd noticed how it always seemed to speed up, that alternation, until the two somehow merged, the resulting composite becoming your new idea of the person. (Someone at Slitscan had told him that it had been clinically proven that celebrity-recognition was handled by one particular area in the brain, but he'd never been sure whether or not they were joking.)
Those had been tame celebrities, the ones Kathy had already had her way with. In the building (but never the Cage) to have various aspects of their public lives scripted, per whatever agreements were already in place. But Rez wasn't tame, and was a much bigger deal in his own way, although Laney had only been aware of his later career because Kathy had hated him so.
Rez had his arm around Arleigh now, gesturing with the other into the relative darkness beyond the Sherman tank, saying some-thing Laney couldn't hear.
“Mr. Laney, good evening.” It was Yamazaki, in a green plaid sportscoat that sat oddly on his narrow shoulders. He blinked rapidly.
“Yamazaki.”
“You have met Rez, yes? Good, very good. A table is prepared, to dine.” Yamazaki put two fingers inside the oversized, buttoned collar of his cheap-looking white dress shirt and tugged, as though it were far too tight. “I understand initial attempts to identify nodal points did not meet with success.” He swallowed.
“I can't pull a personal fix out of something textured like corporate data. He's just not there.”
Rez was moving in the direction of whatever lay beyond the tank.
“Come,” Yamazaki said, then lowered his voice. “Something extraordinary. She is here. She dines with Rez. Rei Toei.”
The idoru.
24. Hotel Di
In this tiny cab now with Masahiko and Gomi Boy, Masahiko up front, on what should've been the driver's side, Gomi Boy beside her in the back. Gomi Boy had so many pockets in his fatigue pants, and so many things in them, that he had trouble getting comfortable. Chia had never been in a car this small, let alone a cab. Masahiko's knees were folded up, almost against his chest. The driver had white cotton gloves and a hat like the hats cab drivers wore in 1940s movies. There were little covers made of starched white lace fixed to all the headrests with special clips.
She guessed it was such a small cab because Gomi Boy was going to be paying, cash money, and he made it clear he didn't have a lot of that.
Somehow they had ascended out of the rain into this crazy, impressive, but old-fashioned-looking multilevel expressway, its steel bones ragged with bandages of Kevlar, and were whipping past the middle floors of tall buildings—maybe that Shinjuku again, because there went that Tin Toy Building, she thought, glimpsed through a gap, but far away and from another direction—and here, gone so fast she was never sure she'd seen him, through one window like all the rest, was a naked man, crosslegged on an office desk, his mouth open as wide as possible, as if in a silent scream.
Then she began to notice other buildings, through sheets of rain, and these were illuminated to a degree excessive even by local standards, like Nissan County attractions in a television ad, isolated theme-park elements thrusting up out of a strata of more featureless structures, unmarked and unlit. Each bright building with its towering sign: HOTEL KING MIDAS with its twinkling crown and scepter, FREEDOM SHOWER BANFF with blue-green mountains flanking a waterfall of golden light. At least six more in rapid succession, then Gomi Boy said something in Japanese. The driver's shiny black bill dipped in response.
They swung onto an off-ramp, slowing. From the ramp's curve, in the flat, ugly flare of sodium floods, she saw a rainy, nowhere intersection, no cars in sight, where pale coarse grass lay wet and dishevellved up a short steep slope. No place at all, like
it could as easily have been on the outskirts of Seattle, the outskirts of anywhere, and the homesickness made her gasp.
Gomi Boy shot her a sidewise glance, engaged in the excavation of something from another of his pockets, this one apparently inside his pants. From somewhere well below the level of his crotch he fished up a wallet-sized fold of paper money, secured with a wide black elastic band. In the passing glare of another road light Chia saw him snap the elastic back and peel off three bills. Bigger than American money, and on one she made out the comfortingly familiar logo of a company whose name she'd known all her life. He tucked the three bills into the sleeve of his sweater and set about replacing the rest wherever it was he kept it.
“There soon,” he said, withdrawing his hand and refastening his suspenders.
“Where soon?”
They took a right and stopped, all around them a strange white fairy glow, falling with the rain to oil-stained concrete neatly painted with two big white arrows, side by side, pointing in opposite directions. The one pointing in the direction they were headed indicated a square opening in a featureless, white-painted concrete wall. Five-inch-wide ribbons of shiny pink plastic hung from its upper edge to the concrete below, concealing whatever was behind and reminding Chia of streamers at a school dance. Gomi Boy gave the driver the three bills. He sat patiently, waiting for change.
Her legs cramping, Chia reached for the door handle, but Masahiko quickly reached across from the front, stopping her. “Driver must open,” he said. “If you open, mechanism breaks, very expensive.” The driver gave Gomi Boy change. Chia thought Gomi Boy would tip him, but he didn't. The driver reached down and did something, out of sight, that made the door beside Chia open.
She climbed out into the rain, dragging her bag after her, and looked up at the source of the white glow: a building like a wedding cake, HOTEL DI spelled out in white neon script edged with clear twinkling bulbs. Masahiko beside her now, urging her toward the pink ribbons. She heard the cab pull away behind her. “Come.” Gomi Boy with the plaid bag, ducking through the wet ribbons.
Into an almost empty parking area, two small cars, one gray, one dark green, their license plates concealed by rectangles of smooth black plastic. A glass door sliding aside as Gomi Boy approached.
A disembodied voice said something in Japanese. Gomi Boy answered. “Give him your card,” Masahiko said. Chia took out the card and handed it to Gomi Boy, who seemed to be asking the voice a series of questions. Chia looked around. Pale blues, pink, light gray. A very small space that managed to suggest a hotel lobby without actually offering a place to sit down. Pictures cycling past on wallscreens: interiors of very strange-looking rooms. The voice answering Gomi Boy's questions.
“He asks for a room with optimal porting capacity,” Masahiko said quietly.
Gomi Boy and the voice seemed to reach agreement. He slotted Chia's card above something that looked like a small pink water fountain. The voice thanked him. A narrow hatch opened and a key slid down into the pink bowl. Gomi Boy picked it up and handed it to Masahiko. Chia's card emerged from the slot; Gomi Boy pulled it out and passed it to Chia. He handed Masahiko the plaid bag, turned, and walked out, the glass door hissing open for him.
“He isn't coming with us?”
“Only two people allowed in room. He is busy elsewhere. Come.” Masahiko pointed toward an elevator that opened as they approached.
“What kind of hotel did you say this is?” Chia got into the elevator. He stepped in behind her and the door closed.
He cleared his throat. “Love hotel,” he said.
“What's that?” Going up.
“Private rooms. For sex. Pay by the hour.”
“Oh,” Chia said, as though that explained everything. The elevator stopped and the door opened. He got out and she followed him along a narrow corridor lit with ankle-high light-strips. He stopped in front of a door and inserted the key they'd been given. As he opened the door, lights came on inside.
“Have you been to one of these before?” she asked, and felt herself blush. She hadn't meant it that way.
“No,” he said. He closed the door behind her and examined the locks. He pushed two buttons. “But people who come here sometimes wish to port. There is a reposting service that makes it very hard to trace. Also for phoning, very secure.”
Chia was looking at the round pink furry bed. It seemed to be upholstered in what they made stuffed animals out of. The wall-to-wall was shaggy and white as snow, the combination reminding her of a particularly nasty-looking sugar snack called a Ring-Ding.
Velcro made that ripping sound. She turned to see Masahiko removing his nylon gaiters. He took off his black workshoes (the toe was out, in one of his thin gray socks) and slid his feet into white paper sandals. Chia looked down at her own wet shoes on the white shag and decided she'd better do the same. “Why does this place look the way it does?” she asked, kneeling to undo her laces.
Masahiko shrugged. Chia noticed that the quilted International Biohazard symbol on the plaid bag was almost exactly the color of the fur on the bed.
Spotting what was obviously the bathroom through an open door, she carried her own bag in there and closed the door behind her. The walls were upholstered with something black and shiny, and the floor was checkered with black and white tiles. Complicated mood-lighting came on and she was surrounded by ambient birdsong. This bathroom was nearly as big as the bedroom, with a bath like a miniature black swimming pool and something else that Chia only gradually recognized as a toilet. Remembering the one back in Eddie's office, she put her bag down and approached the thing with extreme caution. It was black, and chrome, and had arms and a back, sort of like a chair at the stylist's. There was a display cycling, on a little screen beside it, with fragments of English embedded in the Japanese. Chia watched as “(A) Pleasure” and “(B) Super Pleasure” slid past. “Uh-uh,” she said.
After studying the seat and the ominous black bowl, she lowered her pants, positioned herself strategically over the toilet, squatted carefully, and urinated without sitting down. She'd let someone else flush that one, she decided, while she washed her hands at the basin, but then she heard it flush itself.
There was a glossy pink paper bag beside the basin with the words “Teen Teen Toiletry Bag” printed on it in swirly white script. It was sealed at the top with a silver stick-on bow. She removed the bow and looked inside. Lots of different little give-away cosmetics and at least a dozen different kinds of condoms, everything packaged to look more or less like candy.
There was a shiny black cabinet to the left of the mirror above the basin, the only thing in the room that looked Japanese in that old-fashioned way. She opened it; a light came on inside, revealing three glass shelves arranged with shrink-wrapped plastic models of guy's dicks, all different sizes of them, molded in weird colors. Other objects she didn't recognize at all: knobby balls, something that looked like a baby's pacifier, miniature inner-tubes with long rubbery whiskers. In the middle of it all stood a little black-haired doll in a pretty kimono made of bright paper and gold cloth. But when she tried to pick it up, the wig and the kimono came off in one piece, revealing yet another shrink-wrapped replica, this one with delicately painted eyes and a Cupid's-bow mouth. When she tried to put the wig and kimono back on, it fell over, knocking over everything on its shelf, so she closed the cabinet. Then she washed her hands again.
Back in the Ring-Ding room, Masahiko was cabling his computer to a black console on a shelf full of entertainment gear. Chia put her bag on the bed. Something chimed softly, twice, and then the surface of the bed began to ripple, slow osmotic waves centering in on the bag, which began to rise slightly, and fall…
“Ick,” she said, and pulled the bag off the bed, which chimed again and began to subside.
Masahiko glanced in her direction, but went back to whatever he was doing with the equipment on the shelf.
Chia found that the room had a window, but it was hidden behind some kind of softs
creen. She tried the clips that held the screen in place until she got the one that let her slide the screen aside on hidden tracks. The window looked out on a chainlinked parking lot beside a low, beige building sided with corrugated plastic. There were three trucks parked there, the first vehicles she'd seen in Japan that weren't new or particularly clean. A wet-looking gray cat emerged from beneath one of the trucks and sprang into the shadow beneath another. It was still raining.
“Good,” she heard Masahiko say, evidently satisfied. “We go to Walled City.”
25. The Idoru
“How do you mean, she's ‘here’?” Laney asked Yamazaki, as they rounded the rear of the Sherman tank. Clots of dry clay clung to the segments of its massive steel treads.
“Mr. Kuwayama is here,” Yamazaki whispered. “He represents her—”
Laney saw that several people were already seated at a low table.
Two men. A woman. The woman must be Rei Toei.
If he'd anticipated her at all, it had been as some industrial-strength synthesis of Japan's last three dozen top female media faces. That was usually the way in Hollywood, and the formula tended to be even more rigid, in the case of software agents—eigenheads, their features algorithmically derived from some human mean of proven popularity.
She was nothing like that.
Her black hair, rough-cut and shining, brushed pale bare shoulders as she turned her head. She had no eyebrows, and both her lids and lashes seemed to have been dusted with something white, leaving her dark pupils in stark contrast.
And now her eyes met his.
He seemed to cross a line. In the very structure of her face, in geometries of underlying bone, lay coded histories of dynastic flight, privation, terrible migrations. He saw stone tombs in steep alpine meadows, their lintels traced with snow. A line of shaggy pack ponies, their breath white with cold, followed a trail above a canyon. The curves of the river below were strokes of distant silver. Iron harness bells clanked in the blue dusk.